This production was so good, I saw it twice to catch some alternates. It featured three plays: Bulong-bulongan sa Sangandaan by Ramon C. Jocson, Pobreng Alindanaw by J. Dennis Teodosio, and Baclofen by Chris Martinez. As expressed by director Jethro Tenorio in his introductory spiel, it is an attempt at crossing, at transcendence that ties these three plays together.The first play deals with transcending worker oppression and, interestingly, death. The material is a bit dated and its twist in the end is predictable, especially to those already familiar with the Manila Film Center incident of the Marcos era. Three construction workers share their discontent with their current lives and the fact that they haven’t received their salaries yet. Although their back-stories are presented extensively, more could have done with their characterization so that the audience would feel more in the big reveal in the end. In his review, award-winning author Nick Pichay says that the secret of the play is also revealed too early: “Too many hints can disappoint.” I couldn’t agree more.
Pobreng Alindanaw (NOT alindaHaw, as thoughtfully explained by one of the characters) is a laugh-out-loud threshing of concerns about appearance and status. This play, a fable set in modern times, is about two dragonflies, Chubbs and Tiny, who are unsatisfied with their lives. They attempt to transform themselves into butterflies by inhabiting an old cocoon only to encounter its old owner, the butterfly Beauty.
J. Dennis Teodosio manages to create a highly-enjoyable play that deals with age-old concerns of beauty, self-esteem, and acceptance while using fresh, witty language and contemporary references. The material can get quite heavy in the middle and I feel handling it can be a daunting task to actors with no stamina or comedic timing. It was great then, that the students that assayed the roles were up to it and delivered with tremendous energy and perfect timing.
One just watches in awe as Virlynn Ramirez and Maryanne Mornoy bring life to the dragonflies. From song and dance numbers, to witty jabs, and physical comedy, these two are out to entertain. They never seem to get tired as they flutter about and deliver punchline after punchline flawlessly. Anne Mariel Dionisio and Leinard Ramos, who alternate as Beauty, complement the quirks of the dragonflies with great tragic-comic sense. Really wonderful performances all around!
The big plus is that the side-splitting conversations and mix of low and high-brow comedy do not take from the depth and seriousness of this play at all. If anything, the lively discussion that starts it off only makes the final scene more tragic.
The last play, Chris Martinez’s Baclofen, was the most intense among the three. Now covering transcendence and meaning of gender roles and sexual orientation, this play generated the most gasps from the young audience. Being a fan of Martinez’s writing for quite some time, I was looking forward to this production the most. The material and the acting certainly exceeded my expectations.
The story revolves around the lives of three gay men. Naomi (Ariel Diccion / Jean Pierre Reniva) is the cross-dressing owner of Salon Femme Fatale. David (Sergio Gahol) is a tricycle driver shown to be Naomi’s lover. Jonathan (Kalil Almonte) is Naomi’s store assistant and abused personal servant. Unbeknownst to Naomi, David and Jonathan are actually lovers plotting against him. What ensues from the uncanny couplings is a violent exposition of love and sexual identity.
Martinez expertly shows the complex diversity of the gay subculture in the dark story of these three. Anyone coming in with the traditional image of a gay man would have his views shattered with the characterization of the leads. Sabi nga ni Jethro, sinusubok masagot ang tanong na, “Ano ba ang ibig sabihin ng pagiging bakla?” In the end, it is the brutal Jonathan that is left with the question. And although he has dreams for himself and admits to not choosing the situation he is in, he cannot transcend the world’s view of him.
Almonte and Gahol give very brave and impressive performances. Even without their minute-long kissing scene (which generated incredible shrieks and winces left and right), their portrayal of the treacherous couple would be intense enough. In spite of their actions, we feel for them and the weight of their tragedy in the end.
Again, kudos to ENTABLADO for a very memorable production! Good luck on future shows! I’ll be looking forward to them eagerly.
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